16/internal/media/dispatcher/5303/fullThe Vienna State Opera1956[Oskar Kokoschka]Oskar KokoschkaOil on canvasPaintinghttps://sammlungtest.belvedere.at/objects/3964/rdf/internal/media/dispatcher/6065/fullSt. Thérèse of Lisieux1952[Herbert Boeckl]Herbert BoecklOil on canvasThérèse von Lisieux (1873-1897) war Nonne im Orden der Unbeschuhten Karmelitinnen. Sie wurde 1925 von Pius XI. heilig gesprochen und 1997 von Papst Johannes Paul II. zur Kirchenlehrerin erhoben.Paintinghttps://sammlungtest.belvedere.at/objects/3568/rdf/internal/media/dispatcher/94719/fullSquatting Couple (The Family)1918[Egon Schiele]Egon SchieleOil on canvasA man and a woman, both nude, are crouching in a dark room. A child peers out from between the woman’s legs. Positioned protectively behind them both, the man with alert eyes reveals Schiele’s features. His bony body contrasts with the woman’s soft curves, who looks down, lost in thought. Despite their physical proximity, the two bodies appear isolated. Schiele’s own family would never come into existence. His wife Edith died of Spanish flu on October 28, 1918, when she was six months pregnant. Egon Schiele died three days later. Art critic Berta Zuckerkandl thereupon first used the title “The Family” for Squatting Couple.Paintinghttps://sammlungtest.belvedere.at/objects/3071/rdf/internal/media/dispatcher/115111/fullFlowering Poppies1907[Rudolf Leopold, Amalie Zuckerkandl, Paula Zuckerkandl, Victor & Paula Zuckerkandl, Hans Gnad, Gustav Klimt, Viktor Zuckerkandl, Galerie Miethke, Wien, Österreichische Galerie]Gustav KlimtOil on canvasThis painting resembles a floral tapestry, a shimmering fabric of vibrant dabs, the red of the poppies standing out as the dominant color. There is no hint of sunlight nor shadow to be seen, only the occasional outlined tree, and a gray strip of sky above the high horizon. Klimt was inspired to paint works such as this by the luminous vibrancy of French Impressionism. But his poppy field does not convey a fleeting visual experience—far from it! Rather it exudes nature’s harmony and eternal validity. Klimt painted this work in the countryside surrounding the lake Attersee in Upper Austria, where he spent his summers after 1900.Paintinghttps://sammlungtest.belvedere.at/objects/3917/rdf/internal/media/dispatcher/5291/fullThe Sisters Karoline and Pauline Fey1905[Richard Gerstl]Richard GerstlOil on canvasRichard Gerstl is a tragic figure. Although he never experienced material hardships in his brief existence, his life was overshadowed by melancholy and beset by disaster at every turn. He was the first of the young Expressionists to abandon the curvilinear contours, ornaments, and blossoms of Jugendstil. The Fey sisters rise like phantoms before the dark, empty space surrounding them. They pay no attention to each other; their faces are frozen like masks, their skin unnaturally pale, their lips bloodless. Schiele and Kokoschka composed their pictures in equally radical ways. But Gerstl was the only one of the three to receive no recognition during his life, cut short by his suicide in 1908.Paintinghttps://sammlungtest.belvedere.at/objects/3224/rdf/internal/media/dispatcher/36554/fullGirlfriends (Water Serpents I)1904 (minor amendments in 1907)[Gustav Klimt, Unbekannter Besitz, Belvedere, Wien, Karl Wittgenstein, Galerie H. O. Miethke, Galerie L. T. Neumann, Gustav Klimt]Gustav Klimt Watercolour, gouache, pencil, gold, silver, platinum and brass on parchment Klimt’s aquatic beings, described by the artist as “water serpents” or “water nymphs,” seem bewitchingly detached from the real world. In dreamy, flowing movements they float above the ocean floor in the midst of golden seaweed. A glimmering fish stares out at us with a fixed gaze from the lower right of the picture. Influenced by the Symbolist art movement, the artist used these aquatic creatures to symbolize a mystical realm. Klimt created this work on parchment at the height of his Golden Period.Paintinghttps://sammlungtest.belvedere.at/objects/3828/rdf/internal/media/dispatcher/83180/fullJudith1901[Gustav Klimt, Berthe Hodler, Sophie Loew-Unger, Österreichische Galerie, Anton Loew]Gustav KlimtOil and gold leaf on canvas The biblical story of the brave Judith has often been depicted in art. Judith, a chaste widow, gets the enemy commander Holofernes drunk with divine help, and then beheads him to free her people. Gustav Klimt interprets the Old Testament heroine as an erotic femme fatale. She gazes seductively at the viewer through half-closed eyes, her lips slightly parted. Only on closer inspection do we see the decapitated head of Holofernes. Judith holds it almost tenderly, as if to push it out of the picture. In Klimt’s painting there is no room for the male aggressor. He has transformed the biblical story of resistance in a political conflict into a battle of the sexes, and Judith’s triumph into a dangerously tantalizing icon of femininity.Paintinghttps://sammlungtest.belvedere.at/objects/3492/rdf/internal/media/dispatcher/118782/fullSonja Knips1897/1898[Österreichische Galerie, Gustav Klimt, Sonja Knips]Gustav KlimtOil on canvas Calm and confident, Sonja Knips gazes back at us. A baroness by birth, she was one of Gustav Klimt’s most prominent patrons. The artist subtly composed her portrait with great sensitivity, alternating between hazy evocation and precision: Sonja Knips’s face is rendered naturalistically, while her sumptuous tulle gown dissolves in a cascade of soft brushstrokes. Leaning slightly forward, she sits on the edge of an armchair ready to rise at any moment. A red sketchbook in her right hand adds an accent of bright color. This is the first portrait that Klimt painted in a square format. It also marks the start of his rise to become one of the most sought-after portraitists of Viennese society.Paintinghttps://sammlungtest.belvedere.at/objects/3197/rdf/internal/media/dispatcher/19188/fullAus dem Kurpark in Tepliz1877[Rudolf von Alt]Rudolf von AltWatercolor, opaque white on paperDrawing arthttps://sammlungtest.belvedere.at/objects/3868/rdf/internal/media/dispatcher/6082/fullEntry of Charles V. in Antwerp1875[Hans Makart]Hans MakartOil on canvasNach einem Atelierbesuch im Juli 1875 beschrieb Carl von Lützow die Skizze in der Kunstchronik. (Lützow, Bilder, 13.8.1875) In diesem ersten Entwurf zum großen Bild in Hamburg (vgl. Frodl, Makart, 2013, Kat. Nr. Kat. Nr. 352) ist Albrecht Dürer als Zeuge der historischen Szene bereits festgehalten (links im Bild). Makart wählte als Ort der Handlung den Hafen, erst später verlegte er den Standort des Festzugs weiter in die Stadt. Die Anordnung des Zugs hat er jedoch nicht mehr geändert. — [Vgl. Frodl, Makart, 2013, Kat. Nr. 306]Paintinghttps://sammlungtest.belvedere.at/objects/47193/rdf/internal/media/dispatcher/19189/fullThe Old Korneuburg Town Hall1841[Rudolf von Alt]Rudolf von AltAquarell, Bleispuren auf PapierDrawing arthttps://sammlungtest.belvedere.at/objects/3885/rdf/internal/media/dispatcher/6858/fullThe Port of Naples with Vesuvius1836[Rudolf von Alt]Rudolf von AltOil on canvasItalien, genauer Neapel, wie ein Postkartenmotiv: im Hintergrund der mächtige Vesuv, aus dessen Krater Rauch aufsteigt, davor die malerische Bucht und schließlich das Ufer mit Badenden und Schiffen, die vor Anker liegen. Soldaten, Männer mit Zylindern, Fischer und Fischerinnen bevölkern die Promenade. Alle scheinen träge von der Mittagshitze. 23-jährig besuchte Rudolf von Alt in Begleitung seines Vaters erstmals den Süden Italiens und Neapel. Hier schuf er zahlreiche Aquarelle, die als Vorlagen für die Ausführung von Ölgemälden im Wiener Atelier dienen sollten. Beide gehörten zu jenen Landschaftsmalern, die auf der Suche nach immer neuen, gut verkäuflichen Motiven häufig auf Reisen waren.Paintinghttps://sammlungtest.belvedere.at/objects/3176/rdf/internal/media/dispatcher/76830/fullView of Vienna from Grinzing1824[Carl Agricola]Carl AgricolaOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3075/rdf/internal/media/dispatcher/76390/fullThe Danube and the Old Reichsbrücke1822[Carl Agricola]Carl AgricolaOil on cardboardPaintinghttps://sammlungtest.belvedere.at/objects/3074/rdf/internal/media/dispatcher/4509/fullThe Lamentation of Abel1692[Johann Michael Rottmayr]Johann Michael RottmayrOil on canvas A harrowing scene: Abel’s corpse is sprawled on the ground, as if on stage in the spotlight. The bloody head, the grief of Adam and Eve, God the Father set against glowing clouds—all trigger astonishment, horror, and compassion. This painting and its companion piece, the Sacrifice of Isaac, anticipate Christ’s sacrificial death and the Lamentation. Johann Michael Rottmayr was one of the pioneers of High Baroque painting in Austria and worked in many churches, monasteries, and palaces. The fresco in the dome of St. Charles’s Church in Vienna, a monumental work painted when the artist was over seventy, marks the brilliant culmination of his prolific career. Paintinghttps://sammlungtest.belvedere.at/objects/3092/rdf/internal/media/dispatcher/164312/fullSt Catherinec. 1510/1520[Alpenländischer oder Schwäbischer Bildschnitzer]Alpenländischer oder Schwäbischer BildschnitzerLimewood, formerly polychromed (?)Sculpturehttps://sammlungtest.belvedere.at/objects/4026/rdf